The role of emotion in design reflection

Reflection on design processes performed by designers is called design reflection. In our view, this kind of reflection aims at answering essential questions like “Is my design answering the stakeholder concerns?”, “Am I solving the essential problems or am I wasting time on irrelevant aspects?”, “Does the result feel satisfactory or are further iterations necessary?”, “Does my design obey the rules of conceptual integrity and aesthetics?”, and “Is my design process appropriate for the problem?”. Design reflection is important since it can improve the design process and the product being designed (Reymen, 2001). It can also help the designers to learn from their experiences, i.e. their thoughts and feelings, and to improve their professional capabilities. Recent design research recognised the need for stimulating reflection, including the development of supporting methods (Badke-Schaub et al., 1999; Reymen, 2001; Schön, 1983; and Valkenburg, 2000). Reflection is, however, often interpreted as evaluating the design rationally, giving no explicit place for emotions. For answering the questions mentioned above, we state that both feelings and thoughts are important. We advocate a balanced approach in which both rationality and emotions play a role. The underlying idea is that we hope that balanced answers to essential questions lead to balanced design decisions and to a balanced design process. The goal of this paper is to explore the possibilities of letting emotions play a role in design related reflection processes. The exploration is partially based on our experiences with a\ud method that supports reflection on design processes; a description and discussion of the method can be found in (Reymen, 2001). This paper introduces the concepts emotion, reflection, and design reflection and with exploring their relations. Based on these insights, the paper continues with describing a prescriptive model of a reflection process in which emotions of designers and stakeholders play an important role

The new journeyman: The role of an expert learner in eliciting and transmitting skilled knowledge

This paper presents interim research findings of a project which seeks to elicit the skilled knowledge of master craftsmen through use of an expert learner (Horne) acting as intermediary between the craftsmen and a designer (Wood) creating a multimedia resource to support those wishing to learn the skill. It builds on previous research that evolved a set of principles for the design of multimedia learning materials (Wood & Rust 2003) and moved on to develop techniques for elicitation of expert knowledge from craft masters (Wood 2006). The skills involved in undertaking such craft practice involve a high degree of tacit knowledge which is internalised and frequently difficult for the craft expert to articulate. The expert learner has the ability to learn new skills with minimal instruction then articulate those skills before they become too internalised. The role of designer is to assist with this articulation and develop interpretation suitable for transmitting the knowledge to novice learners. This research focuses on the skills of traditional custom knife makers in Sheffield; Horne has worked alongside two traditional craftsmen, video recorded by Wood. Together they have collaborated to analyse the recordings and develop learning materials to disseminate the craft skill. These are currently being developed and tested using a small group of learners with some one-to-one teaching followed by self-directed development work using an on-line resource. The main finding for this stage of the research was that, as Horne had relatively recently acquired this knowledge, it had not become too internalised and she was able to rapidly adapt her understanding of it to improve transmission to the learners in a manner that had not been demonstrated by more experienced craft practitioners. The interactions between Horne and the learners were mediated by Wood, facilitating reciprocal reflection between the them and designing ‘bridges’ to help transmit the knowledge to future generations of learners. Keywords: Multimedia Design; On-Line Learning; Tacit Knowledge; Craft Skills; Knowledge Elicitation</p

Connecting practice to research (and back to practice): making the leap from design practice to design research

This paper explores two questions: what skills and knowledge can be derived from research and brought back into design practice; and how can we better prepare designers to undertake research? Its aim was to enable design practitioners wishing to pursue research to understand the process and anticipate the scope and level of work. Additionally, it addressed the questions of how design education can incorporate a research-based curriculum and how professional bodies can promote the value of research to practitioners? A complementary paper was co-written and presented at the CONNECTED 07 conference, Sydney. It explores the process of undertaking a PhD within the framework of the UK design education system by examining it from a design and business perspective (Yee, J.S.R, Michlewski, K. and Bohemia, E. (2007) 'Interrogating the Academic Research Process in UK Design Education from Design and Business Perspectives', ConnectED 2007 – International Conference on Design Education, Sydney, (http://www.designdictator.com/publications/connected07.pdf). Yee’s research bridges the gap between contemporary design practice, the growth of professional knowledge and pedagogy, via empirical study and theoretical discourse. Yee is currently 2nd supervisor for a PhD, entitled; ‘The Development of a Framework to Understand Potential Relationships Between Services and Their Users’ and is contributing to the development of the Professional Practice Doctorate in Design in the CfDR

GP trainees’ perceptions on learning EBM using conversations in the workplace : a video-stimulated interview study

Background To be able to practice evidence-based medicine (EBM) when making decisions for individual patients, it is important to learn how to combine the best available evidence with the patient's preferences and the physician's clinical expertise. In general practice training, these skills can be learned at the workplace using learning conversations: meetings between the supervising general practitioner (GP) and GP trainee to discuss medical practice, selected topics or professional performance. This study aimed to give insight into the perceptions of GP trainees on their EBM learning processes during learning conversations. Methods We held semi-structured video-stimulated elicitation interviews (n = 22) with GP trainees affiliated to GP training institutes in the Netherlands and Belgium. GP trainees were shown fragments of their learning conversations, enabling reflection during the interview. Taking an inductive approach, interview recordings were transcribed verbatim and analysed with NVivo software. Results GP trainees perceived learning conversations as useful for learning and discussing EBM. Multiple EBM learning activities were identified, such as discussing evidence together, relating evidence to cases in daily practice and discussing the supervisor's experience and the specific local context in the light of what the evidence recommends. However, for learning to occur, trainees need and expect specific behaviour, both from their supervisors and themselves. Supervisors should supply well-substantiated answers that are applicable in practice and give the trainee confirmation. In turn, the trainee needs to prepare well in order to ask focused, in-depth questions. A safe space allowing equal and open discussion between trainee and supervisor is perceived as an essential context for optimal EBM learning. Conclusions Our findings show that trainees find learning conversations useful for EBM learning in general practice. To bring EBM learning to its full potential, attention should be paid to optimising the behavioural and contextual factors found relevant to enhancing EBM learning

Review of practice-led research in art, design & architecture

This review report sets out the outcomes of a 10 month investigation to describe the landscape of practice-led research in Art, Design and Architecture (ADA) in the UK and beyond. We were asked for a qualitative review but of course it has been important to gather some numbers to check and illustrate our observations. We have consulted widely, both face to face and in the virtual world, with experts and novices in the UK and around the world. We have tried to strike a balance between the natural desire of our colleagues to debate the more contentious aspects of this territory (they were never going to forgo that opportunity) and the equally strong wish of the AHRC that we should provide a clear description of what is happening. We have collected some diverse examples of research and subjected them to various examinations. We have also examined a selection of research projects funded by AHRC and other projects by creative practitioners, funded by a non-research organisation. From all this we have been able to describe the landscape in a straightforward sense: We have measures of the proportions of ADA academics involved in practice-led research. We have clarified differences in the ways that the different ADA disciplines engage with practice-led research and identified some problems that indicate possible future support strategies. We have discussed some problems with general definitions of research and identified issues that should be addressed to ensure that the AHRC definition can be applied to the full range of practice-led research. We have picked out some specific case examples that illustrate the range of contexts, methods and contributions made by practice-led researchers, and more are described in detail in Appendix F. We have also sought to assess how this research relates to the wider international picture in which the UK appears to have a strong position in both volume and development of research. We have also set out some issues that affect this community of researchers: What strengths and weaknesses have we observed and where is there a need to support development? Do the AHRC definition of research and guidance on practice-led research provide an effective framework? We have illustrated the state of development of research in ADA, and some reasons why it is less robust than might be expected from such long established disciplines. We recommend that the career path of researchers in ADA needs some attention and make some suggestions about how that could be achieved. We have also indicated some areas of inquiry that might be supported to advance the theory and methods of practice-led research. In particular we have come to the conclusion that conventional ideas of contribution to knowledge or understanding may not be serving us well. This is significant to fine artists but we believe that it relevant across ADA and a shared effort to develop appropriate new models would be a constructive development. The full set of recommendations can be found in chapter 5

Assurance of learning : the role of work integrated learning and industry partners

In the partnering with students and industry it is important for universities to recognize and value the nature of knowledge and learning that emanates from work integrated learning experiences is different to formal university based learning. Learning is not a by-product of work rather learning is fundamental to engaging in work practice. Work integrated learning experiences provide unique opportunities for students to integrate theory and practice through the solving of real world problems. This paper reports findings to date of a project that sought to identify key issues and practices faced by academics, industry partners and students engaged in the provision and experience of work integrated learning within an undergraduate creative industries program at a major metropolitan university. In this paper, those findings are focused on some of the particular qualities and issues related to the assessment of learning at and through the work integrated experience. The findings suggest that the assessment strategies needed to better value the knowledges and practices of the Creative Industries. The paper also makes recommendations about how industry partners might best contribute to the assessment of students’ developing capabilities and to continuous reflection on courses and the assurance of learning agenda

Evaluating Practice-based Learning and Teaching in Art and Design

The University of the Arts London is host to the Creative Learning in Practice Centre for Excellence in Teaching and Learning (CLIP CETL), which has funded a number of small course-based evaluative and developmental projects. These projects have been designed by course tutors in conjunction with the CLIP CETL team, who are evaluating them to better understand and extend the pedagogies of practice-based teaching and learning. Practice-based learning is a way of conceptualising and organising student learning which can be used in many applied disciplinary contexts. Such pedagogies we argue are founded on the claim that learning to practice in the creative industries requires engagement with authentic activities in context (Lave and Wenger 1991, Wenger 2000). This short paper will describe some of the initial evaluation and research activities in two colleges; identify and define practice-based activities in the context of the courses where the research is being carried out; identify emerging pedagogic frameworks; and discuss implications for further development. Activities identified in the projects undertaken include: Opportunities to develop students‟ direct contact with industry Simulating work-based learning in the University Event-based learning Enhancing professional practice and PPD The authors are seeking to elicit, analyse and evaluate what is often implicit in practitioner-teachers, and the experience of developing pedagogies for extending practice-based learning. We will be theorising from statements made by practitioners in semi-structured interviews and evidence provided in progress reporting from the project teams

Reflections on the heuristic experiences of a multidisciplinary team trying to bring the PCA to participatory design (with emphasis on the IPR method)

This paper introduces a heuristic case study, reflecting on the use of the Interpersonal Process Recall (IPR) method as part of An Internet of Soft Things, a multidisciplinary design research project working with the UK mental health charity, Mind. The three authors represent three different disciplines within the project – Psychotherapy, e-Textiles, and Human-Computer Interaction – and naturally bring their own experiences and expectations to the multidisciplinary team process. The aim of the project is to develop, through practice, a methodology for a Person-Centred Approach to design, informed by the theories and practice of Carl Rogers, and thereby to address the increasing need for researcher reflection in Participatory Design. The paper outlines the project and describes our experiences of IPR within it; it discusses how we are taking this work forward and closes with some guidelines based on our personal observations in working with this method

Don’t Look Back: The Paradoxical Role of Recording in the Fashion Design Process

Although there is little systematic research in academia or industry examining design processes in Fashion, anecdotal evidence, based on self- reports and observations, suggests that designers very rarely record the process of designing. Conversely, benefits and requirements of recording the design process within other domains, such as Engineering and Architecture, are well supported in the literature. This paper attempts to explore the dichotomy of recording and non-recording practice across these fields through a review of the literature, semi-structured interviews and a report on one case study in particular, drawing out further detail. Commonalities and differences are identified and new directions for research proposed

Using design-based research to develop a Mobile Learning Framework for Assessment Feedback

Students’ lack of engagement with their assessment feedback and the lack of dialogue and communication for feedback are some of the issues that affect educational institutions. Despite the affordance that mobile technologies could bring in terms of assessment feedback, research in this area is scarce. The main obstacle for research on mobile learning assessment feedback is the lack of a cohesive and unified mobile learning framework. This paper thus presents a Mobile Learning Framework for Assessment Feedback (MLFAF), developed using a design-based research approach. The framework emerged from the observation of, and reflection upon, the different stages of a research project that investigated the use of a mobile web application for summative and formative assessment feedback. MLFAF can be used as a foundation to study the requirements when developing and implementing wide-scale mobile learning initiatives that underpin longitudinal practices, as opposed to short-term practices. The paper also provides design considerations and implementation guidelines for the use of mobile technology in assessment feedback to increase student engagement and foster dialogic feedback communication channels